Bilbo

I still have not got to it 😃

NOVA - Vimana Jon Anderson - Animation Greenslade - Time And Tide Joe Henderson - So Near, So Far Joe Lovano - Landmarks Marc Johnson's Bass Desires Pat Metheny - Bright Size Life There are so many

I have a Fishman Plat Pro but I can go direct into my Acoustic Image Clarus as it has phantom power for the mic and two channels that you can mix. I will see how it sounds. I have a few weeks until my next gig so have time to experiment but all advice is welcomed.

I have invested in a Realist which sounds pretty good (gigged it with a Jazz Quartet on Friday and in a piano /bass duo last night) and I have just pressed the button on an Audio Technica ATM350 microphone (see comparison video above). I am optimistic.

Last night's gig at the Two Sisters Arts Centre in Trimley St Mary nr. Felixstowe. A new venue for my Jazz East project. This gig featured Paul Higgs, Marc Cecil and Andy Watson. A great night's musiking.

I bought mine because of Percy Jones. I also had a Frunt amp. Remember those? No idea what happened to it but I still have the Wal.

McCoy Tyner, Jimmy Garrison and Elvin Jones

Oscar Peterson, Ray Brown and Ed Thigpen

Bill Evans, Scott LaFaro and Paul Motian

Charles Mingus and Dannie Richmond

Wayne Johnson, Jimmy Johnson and Bill Berg

Phil Collins and Percy Jones

Tony Banks, Mike Rutherford, Phil Collins, Daryl Steurmer and Chester Thompson

Bill Bruford, Dave Stewart and Jeff Berlin

Billy Sheehan on Ladies Nite In Buffalo from Dave Lee Roth's Eat 'Em and Smile album. The easiest read on here. Ladies Nite In Buffalo Bass.pdf

That all cows eat grass thing is part of the problem. It means that every note you read has to start with a process of identification that is time inefficient. You need to start with one note you can identify every time. Doesn't actually matter which one. Then add a second. A third. You need to see C not have to work it out. Imagine trying to identify a word by going ABCDEFGHIJ etc every time. You recognise A and you recognise G. Then add one accidental. Then two. And three. Simultaneously, you read rhythms. Quarter notes. Quarter note rests. Mix them up. Triplets. Sixteenths. It's not that hard, it just needs systematic attention.

Miles Davis trumpet solo on All Blues from Kind Of Blue. (1.46) All Blues - Miles Davis.pdf

From the same CD, Swallow's opening solo on 'Let's Eat' Let's Eat - Steve Swallow intro solo.pdf

Steve Swallow's solo on his tune 'Wrong Together' from the CD 'Real Book' (solo starts at around 1.05). Wrong Together - Steve Swallow.pdf

Riff from Alain Caron's 'Tribeccas' (comes in at around 4.24). Tribecca - Caron.pdf

Excerpt from Sueno Vivo (0.57) by Renaud Garcia Fons Sueno Vivo - Garcia Fons bass excerpt.pdf

This is a transcription for bass guitar of Gerry Mulligan's full baritone saxophone part for his tune 'Song For Strayhorn' off the LP 'Walk On The Water', chosen for transcription because it can be played on the bass quite easily. Song For Strayhorn - Gerry Mulligan.pdf

Another four bar chart; Jaco's line on Weather Report's 'Mr. Gone'. Requires a five string bass (or a detuned 4 string) to get to an Eb. Mr Gone - Joe Zawinul.pdf

Eric Revis's simple four bar part for the tune O Solitude off the Branford Marsalis CD Braggtown. O Solitude - Purcell.pdf

The trouble with learning to read without a teacher is there is a tendency not to proceed with the learning in systematic way. I am currently immersed in learning to read treble clef guitar music i.e. chords and counterpoint. I started with an Easy Guitar pieces book and moved forward incrementally with 10 - 20 minutes practice a day. it is surprising how quickly you can progress with this approach. Reading music isn't any harder than reading words. You start with letters, then words, then phrases then sentences. Most of us try starting with Donna Lee and get the hump because we can play it but can't read it. Duh...